The tang dynasty sauce glaze cans

唐代酱釉罐

口径:5.2cm 底径:6cm 11.6cm

酱釉即酱色釉,是一种以铁为着色剂的高温釉,釉色如柿黄色或芝麻酱色,故而得名。

Sauce glaze is a kind of high temperature glaze with iron as colorant. It is named for its glaze color, such as persimmon yellow or sesame sauce.

提起酱釉,往往给人以含糊的感觉,有人通称为“紫定”。但可以肯定,古人是能够从直观视觉上辨别这些颜色的。还有人将酱釉称为“绛釉”“赫釉”“赭釉”“褐釉”等,这些颜色在古代文献中也有明确记载。至于用“酱色”来形容瓷器釉色,其概念含义本身也是十分宽泛的,令人难以界定出准确色位。以酱类作料的代称作为颜色名词使用似乎出现得较晚。清代以后,酱色已经是与紫、红、青、绿、黑等并列的颜色专有名词了。

Mention sauce glaze, often give a person with vague feeling, some people call it “Purple set”. But we can be sure that the ancients were able to distinguish these colors from the intuitive vision. Some people call the sauce glaze “red glaze”, “he glaze”, “ochre glaze” and “brown glaze”. These colors are also clearly recorded in ancient literature. As for the use of “soy color” to describe porcelain glaze color, the concept itself is very broad, it is difficult to define the exact color position. It seems that the use of the substitute of sauce as a color noun appears later. After the Qing Dynasty, the color of soy sauce has become a proper noun in parallel with purple, red, green, green and black.

因酱本身于发酵初、中、末期会呈现乳黄色、黄色、黄红色、红黄色、棕红色、棕黑色等一系列颜色转换,专家指出,只要是以铁为着色剂的高温釉,呈色为棕黄色系,即使有些偏赭、偏紫、偏红或偏褐,都可称为酱釉。至于个别呈色极其纯正的紫色或红色釉,根据文献记载仍称之“紫色”或“红色”更妥。

Because the sauce itself will present a series of color transformations such as milky yellow, yellow, yellow red, red yellow, brown red and brown black at the beginning, middle and end of fermentation, experts pointed out that as long as the high temperature glaze with iron as the colorant is brown yellow, even if some of them are ochre, purple, red or brown, they can be called sauce glaze. As for some pure purple or red glazes, it is better to call them “purple” or “red” according to the literature.

酱釉瓷是中国古代高温颜色釉品种之一,东汉晚期,酱釉瓷器出现在南方江浙地区,两晋时期得到发展。南北朝时期,以北贾壁窑为代表的北方瓷窑也开始烧造酱釉瓷,隋、唐时期有所发展。宋、辽、金时期,酱釉瓷器的生产遍及全国,但仍以北方瓷窑为主,定窑、耀州窑和当阳峪窑堪称其楷模。元、明、清时期,随着全国瓷业中心的形成,江西景德镇窑生产的酱釉瓷器一枝独秀。宋代是酱釉瓷器发展的黄金时期,南北各地瓷窑普遍烧造,并以北方的耀州窑、定窑和当阳峪窑为杰出代表。当阳峪窑酱釉瓷器堪称杰出代表,“开时光彩惊奇异,铜色如朱白如玉。“虽然当阳峪窑酱釉瓷器的辉煌早已在金戈铁马、漫漫狼烟中渐渐淡去,但这一华贵而不热烈、静谧而不绚艳、神秘而不沉重的具有特殊美感的优秀瓷器品种,并没有消失在历史记忆的长河中,而是以煌煌赫赫的官窑气象重新书写了它的灿烂历程,这也正是酱釉瓷器令人回味无穷的魅力所在。

Sauce glaze porcelain is one of the ancient high temperature color glaze varieties in China. In the late Eastern Han Dynasty, sauce glaze porcelain appeared in the southern Jiangsu and Zhejiang areas, and developed in the Jin Dynasty. In the northern and Southern Dynasties, the northern kilns represented by the northern Jiabi kiln began to make sauce glazed porcelain, which developed in the Sui and Tang Dynasties. During the song, Liao and Jin Dynasties, the production of sauce glaze porcelain spread all over the country, but the northern kilns were still the main kilns. Ding kiln, Yaozhou Kiln and Dangyangyu kiln were the models. During the yuan, Ming and Qing Dynasties, with the formation of the national porcelain industry center, Jiangxi Jingdezhen kiln produced a unique branch of sauce glaze porcelain. Song Dynasty is the golden period of the development of sauce glaze porcelain. The kilns in the north and South are generally fired. Yaozhou Kiln, Dingyao kiln and Dangyangyu kiln in the north are the outstanding representatives. The paste glaze porcelain of Dangyangyu kiln can be regarded as an outstanding representative, “the opening time color is amazing, and the copper color is like Zhu Bai and jade. “Although the brilliance of tangyangyu kiln’s sauce glaze porcelain has been fading away in the golden age and the long smoke, this splendid but not warm, quiet but not gorgeous, mysterious and not heavy excellent porcelain with special beauty has not disappeared in the long river of historical memory, but has written its brilliant course again with the brilliant official kiln atmosphere, which is exactly the sauce glaze porcelain. The charm of utensils is memorable.

该件唐代酱釉罐,高11.6厘米,口径5.2厘米,底径6厘米。酱釉纯正,釉层薄且施釉均匀,胎釉结合紧密,器身拉坯痕迹清晰可见,不见开片,器底无釉,大平底,胎质青灰,虽历经千年沧桑,其釉表仍光莹明亮造型古扑大气,酱釉呈深褐色,器底胎质青灰且局部钙化剥落,与同时期的陶瓷相比,底足修葺尤为规整难得。

The Tang Dynasty sauce glaze pot, 11.6cm high, 5.2cm caliber, 6cm bottom diameter. The paste glaze is pure, the glaze layer is thin and the glaze is evenly applied, the tire glaze is closely combined, the body drawing trace is clear and visible, there is no split, the bottom is unglazed, the big flat bottom, and the tire quality is blue grey. Although it has gone through thousands of years, the glaze surface is still bright and bright, the shape is ancient, the paste glaze is dark brown, the tire quality of the bottom is blue grey, and the part is calcified and peeled off. Compared with the ceramics of the same period, the repair of the bottom foot is particularly regular and rare.

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